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For most of us, Jim Carroll will be remembered as the author of this book. The Basketball Diaries is Carroll’s autobiography, his own diaries, written as a boy from the ages of 12-16. And unlike most of us who passed through those ages, Carroll actually had something to write about other than the tortured inner dialogue of adolescence. He led this tri-furcated life, you see. Basketball star/heroin junkie-hustler/poet-literary prodigy tri-furcation is one mighty feat to pull off, no matter what age you are. His first book of poetry was published at age 17, Organic Trains. The crowd he traveled with in the years to come included Ginsberg, Warhol, Patti Smith, Dylan, Mapplethorpe; all of them, all of the anti-heroes of my own adolescence. For such a busy kid, Jim Carroll still had a whole lot to do in his 20s and 30s.
Of course in that environment, of New York City, there was punk rock. It was everywhere, unavoidable, viral in an airborne sense of viral; anyone who was anywhere near the Eastern seaboard (and eventually LA), near any city larger than 50,000 people or within reach of late night a.m. radio waves listened to and/or performed punk music. And so, Jim Carroll, (the once-basketball star/ heroin junkie/poet-literary star) formed the Jim Carroll Band and gave us Catholic Boy with the great track, ”People Died” in 1980, which seems way too late for such a thing, but looking back it all just happened so damn fast. I mean from 1976 when we were first listening to the Ramones and the Sex Pistols and Siouxie & The Banshees and Blondie and X-Ray Spex, to 1980 when we had the Talking Heads in a big way and so many more post-punk bands the whole thing had transformed and gone through two or three mutations including hardcore and Oi in a matter of 6 – 7 years. So yeah, 1980 was really late and “People Died” sounds very tame for so-called “punk.” I was 16, I remember seeing this on television and thinking it was so very, very, very cool and thinking I just could not wait to get the hell out and to New York City! It wasn’t until I did get out that these people became my anti-heroes. It wasn’t until I got far enough from my own cage to see how far the space was between the bars in theirs by comparison. It took me much longer to become polished enough and even years longer still to get educated enough to appreciate Jim Carroll’s intellect as a literary figure. I do now, but I still hold it against him, in my own way. Forgive me. Mourn his death. Appreciate his genius as he reads “Terrorist Trousers” from Praying Mantis … buy it. Pick up a copy of Catholic Boyhere.
Still Life Still sell themselves as a band of would-be brothers who’ve been playing together for 10 years and known each other since childhood. Listening to their EP, Pastel for days and days, I knew I was going to catch this band when they came through town. What I didn’t know was that the songs off their newly released album,Girls Come Too, are as good or better than the three I had been soaking in. But honestly, I had no idea what to expect and so when five young men stood near the stage I eyed them up and down and thought, “well, that might be the band, or it might be some guys off of Belmont Ave,” Belmont Ave. being the closest place to buy proper rock n roll clothes, get a decent piercing, or find one of the few remaining comic book or independent record stores in Chicago. Darlings, you already know how this is gonna go. Of course they were the band. Of course their talent wow’d me. Here’s how: they can sing, their guitars are played mostly all up high and metallic and I still loved it, the looping and sound effects are way cool and not overdone, and the drummer is a fucking powerhouse. Oh,… and they play this gorgeous blend of dance, pop, punk-tinged-yet-mellow, syrupy music that’s just really additively good.
So here we go, in order, vocally this band is sweet. On the first or second song I looked up from trying not to dance too wildly to see Brendon Saarinen leave the mic and Eric Young take over the vocals (or perhaps the other way around). If I hadn’t seen it, I’d have never really noticed, that’s how close their voices are and how closely they blend their harmonies. The album is full of sharply tuned and intentionally placed off notes that break up the repetitive nature of their music. I recently heard someone say, “I love repetition in music” and it struck me as an odd thing to say. I guess I never thought about it; music is about repetition isn’t it? But yeah, they’re right. Some music is really about repetition more than the norm. And I have to admit, I’m coming around to that idea lately. So, Girls Come Too is a record structured on creative and heavy use of repetition and even more creative use of the key things that can be used to break it. I love that about this band. And, those dissonant vocal notes are the most striking breaks, the most beautiful ways of doing it. I turned to M.Chut halfway through this show and said “Damn, these guys can really sing. They practice a lot!”
Guitars: I’m on a growly, low, dirty guitar kick lately. Lots of Southern rock and blues based bands have been blasting my car stereo speakers. I’ve been totally gorging on My Bloody Valentine and Sybris and that fantastic new album, Exploding Heads, by A Place To Bury Strangers as well, which are all full of fuzzed out, grinding noisy guitars. So it surprised the hell out of me to really enjoy this bit of almost jangly rhythm with well-timed, high note lead guitarwork. I’m not saying the bass wasn’t there, hell no. And Derek Paulin does a great job playing creatively and solidly at the same time. Maybe I’m making this bit up about the difference in guitar sound here, maybe it’s just the lead plays high, I’m no guitarist! But whatever it is, I love it. It’s not complicated, it’s not stupid and boring, and I’m not saying it lacks skill. It’s just perfectly placed, like on their single ”Pastel” which is the only song that is carried over from the EP to the new album, and the one that sold this band to me.
When I played “Pastel” for M.Chut I didn’t have any fears that she would hate it. I knew the minute she heard “I wanna make you come, let’s talk more about what you want” she’d love it, we’re pretty easy to please here at Chez Tart, what can I say? But she was concerned that there were screams in it, right before the keyboards hit. I talked her down, but yeah I wasn’t sure either. It’s only Josh Romaniuk doing his techno magic, darlings. Still Life Still uses these effects and sound loops in the best way possible and in the way that they should be used: to break stuff up at just the right moment, and showcase the strengths of what a band is capable of doing. I’ll have more to say about “Planets” in a few days, check back here. But listen to it now and hear the range of talent that Josh gives this band. I love the sound he crafts here all the while keeping it very much still a Still Life Still sound. All in all, keyboard and computer effects are brilliantly applied on this album and equally applied live as well. I was very impressed with what this band brought to Chicago; they have the stage presence and mastery of a group that’s toured far more than this band actually has.
And you know, I’ve said before about a band or two, that the drummer is the machine that runs this show. That thought occurred to me again that night. I actually laughed out loud on the next to last song, as Aaron Romaniuk yelled to his bandmates, sticks held out above his kit, “Are you ready for this?!?” Yeah, they were and we sure as fuck were. This guy didn’t so much beat the drums as he systematically did his job in the most efficient way for every situation. I’ve rarely seen such a drummer who is so fast and versatile without being all over the place. Honestly, this is one fucking good drummer. Still Life Still had better keep hold of him. The more they tour and bands see this guy, the more offers he’s gonna get. Josh joins him, turning from his keyboards to batter the cymbals especially, on the last song and I just didn’t want it to end. The five of them were breathless. Many of us in the audience were as well.
What had started out as a decent crowd who came early enough to catch the opening band, and was hanging back towards the door, by the third or fourth song had turned into a more than half-full room of people actually moving/dancing (basically unheard of for a Northside Chicago venue). It was obvious that folks who had never heard of this band were won over that night. Still Life Still announced the next day that they are coming back in October for two shows, The Hideout on the 15th and The Empty Bottle on the 17th with Pomegranates, The Shaky Hands, and Headlights. Catch this young band now and say you saw them when. Click on the EP and album names at the beginning of this post to buy them, just do it. xoxo
Tour Details
Sep 15 2009 8:00P Hi-Dive Denver, Colorado
Sep 16 2009 8:00P Kilby Court Salt Lake City, Utah
Sep 19 2009 8:00P Vogue Theatre Vancouver, British Columbia
Sep 21 2009 8:00P Starlite Room Edmonton, Alberta
Sep 22 2009 8:00P The Warehouse Calgary, Alberta
Sep 23 2009 8:00P The Odeon Events Centre Saskatoon, Saskatchewan
Sep 24 2009 8:00P West End Cultural Center Winnipeg, Manitoba
Sep 26 2009 8:00P Lee’s Palace Toronto, Ontario
Sep 27 2009 8:00P Lee’s Palace Toronto, Ontario
Oct 7 2009 8:00P Mercury Lounge New York, New York
Oct 8 2009 8:00P Mercury Lounge New York, New York
Oct 15 2009 8:00P The Hideout Chicago, Illinois
Oct 17 2009 8:00P Empty Bottle Chicago, Illinois
Peter Bradley Adams has a lush new single out,”For You”, as a teaser for his new album Traces which is due out Sept. 22 online and in stores on Oct. 20, here in the US. If you love country-tinged Americana folk music, you will fall right in love with PBA. His voice is chocolately smooth and his acoustic guitar is always upfront and played in that way that I often wish I had a name for, it’s that rippling brook sound. You know what I mean? His fingers travel over the strings constantly up and down the chord. I love that sound that country-folk music has.
Trevor Giuliani, who just released his debut record, Subcontrario (In Stereo) last month, has a truly gorgeous voice. He’s currently doing some shows with Cass Macombs and getting some good and well-deserved press for the single, “Wasting Your Town” The album is full of indie-folk-electro experimental bits and some very cool stylings, but it’s that voice that keeps me tuned in. This is definitely worth having in your collection.buySubcontrario (In Stereo)
brightmillion has a new EP out, Start A New Day and their single “Wasting Away” shows just what this band is capable of. I like the sound of this, he’s incredibly ready to hit the public with everything he’s got. brightmillion is in CA but can be reached online where he broadcasts a live webcast every Tuesday night @ 8pm PST from their east Los Angeles studio. The show consists of live band performances, acoustic performances, live chat with fans, contests, giveaways. Tune in at Stickam.com/brightmillionbuyStart A New Day
Live Concert and Fan Q&A… David Gray Draw The Line
Exclusive Online Performance – Today! 2pm EST / 11am PST
In the week leading up to the release of David Gray’s eagerly anticipated new album Draw The Line (September 14th), David Gray is going online for a performance and chat via davidgray.com, Facebook, MySpace and an exclusive partnership with telegraph.co.uk on Thursday, September 10th, 2pm EST, 11am PST
David will perform five songs – including 4 tracks from the new album, as well as answering questions submitted by his fans. As an extra bonus you can chat with other David Gray fans via your Twitter account.
(Darlings, forgive me for inserting much of the press release there. It’s a busy day here at Chez Tart but I didn’t want you to miss this.) You should know that David Gray hasn’t had an album out in four years and this one looks to be rather promising. You should also know that his debut album was really instrumental in keeping M.Chut and I together so, yes, I’m very grateful to Mr. Gray! Do get out and support this rather handsome man!
Tour Dates
October 23rd Boston, MA Wang Theatre
October 24th New York, NY WAMU Theater
October 26th Toronto, Canada Massey Hall
October 27th Upper Darby, PA Tower Theatre
October 29th Chicago, IL Chicago Auditorium Theatre
October 30th Minneapolis, MN Orpheum Theatre
November 1st Denver, CO Paramount Theatre
November 2nd Salt Lake City, UT Kingsbury Hall
November 4th Portland, OR Arlene Schnizer Concert Hall
November 7th Oakland, CA Paramount Theatre
November 9th Los Angeles, CA Orpheum Theatre
I first heard bits and pieces of the Antlers’ record this summer, thinking to myself, “yeah, that’s good, that’s good stuff.” It honestly wasn’t until I saw them live at Pitchfork Fest in July that I was truly converted. And that is completely and utterly my fault, my dears. You should be converted at first listen. Their album, Hospice, is truly hauntingly gorgeous. Give it a full listen the first time through, not the way I did. Then go buy your ticket. No, go buy your ticket first because with the hype that this band is receiving, you’ll be lucky to get a ticket in advance! This trio is amazing live. The vocals are hushed and tender and fragile on the album. Delivered live, they are equally poignant if not as soft. Songs like “Bear” show just how that’s possible; both the chorus and the verse work together in their own odd way, being as different as they are. It’s the energy of this group that carries it, the flexibility of these three performers to take you from one song to the next and just string your heart along the whole way. The mix of keyboards and guitar keeps this collection of songs from being trite, on one hand, or morose on the other. Hospice is so sad, tells such a sad tale, fills you with such pain to hear it. And yet you want to listen to it again and again. It’s like being kissed by the most beautiful lover and sliced by a tiny, sharp knife on each fingertip every time their lips touch yours. I had the same experience with Frightened Rabbit’s Midnight Organ Fight. Most of the songs are achingly sad but also so good and put me in such a melancholy mood, a mood I want to be in sometimes. From “Wake:”
It was easier to lock the doors and kill the phones than to show my skin,
because the hardest thing is never to repent for someone else,
it’s letting people in.
oh, Holly Miranda looks to be quite good too! So Chicago, don’t be late to the show, ok?
Fall Tour
* ( With Holly Miranda )
9/12 – Monolith Festival @ Red Rocks Ampitheatre – Morrison, CO
9/16 – Jackpot Saloon – Lawrence, KS
9/17 – Play:STL Fest @ Cicero’s – St Louis, MO
9/18 – Pygmalion Festival @ Canopy Club – Champaign-Urbana.IL
9/19 – The Frequency – Madison, WI
9/21 – Subterranean – Chicago, IL * ( With Holly Miranda )
9/22 – Majestic Cafe – Detroit, MI * ( With Holly Miranda )
9/24 – Horseshoe Tavern – Toronto, ONT * ( With Holly Miranda )
9/25 – Asbury Hall – Buffalo, NY * ( With Holly Miranda )
9/26 – Iron Horse Music Hall – Northampton, MA
9/28 – Jerky’s Live Music Hall – Providence, RI * ( With Holly Miranda )
9/30 – DC9 – Washington, DC * ( With Holly Miranda )
10/2 – Maxwell’s – Hoboken, NJ * ( With Holly Miranda )
Well, for your Tuesday quickie I give you “Bad Ideas (Don’t Give Up)” by Hard Drugs, which is this self-described “indie rock opera” project of Jeffry Lee, making the rounds today. The cast includes: Jeffry Lee himself, with Jenni Lee Nelson, Shira Blustein, Kevin Grant, Colin McKill, Pete Dionne, and Jason Dana (which include members of members of Blood Meridian, Black Mountain, Lightning Dust, Pink Mountaintops, Bonnie “Prince” Billy, Limb Lifter, Bughouse 5, Bend Sinister, Fan Death, The Mohawk Lodge and Bison) and like much of what’s going on in the indie blog scene, it’s psychedelic, folk rock. It evokes the same sort of feelings as acts like Edward Sharpe and the Magnetic Zeroes did, remember them? This one, however, has a whole story to tell, it’s an actual opera of sorts. You can stream the entire thing over on Muxtape today, its release day. It’s being released as a double LP from Stay Gold Records, with 13 tracks and as far as I can ascertain, they’re performing it on Thursday September 24th @ Bowery Electric (NYC) with The Waldos (Walter Lure from Heartbreakers), you lucky New Yorkers!
Did I mention there were four acts on Saturday night, the night The Calm Blue Sea played Miska’s? Well, the last act was a duo from right here in Chicago named The Soil and The Sun. Some of the guys from TCBS had chatted up Ben before the show and I was introduced. I don’t remember meeting Ben until afterward. It’s all sort of a blur, I’ll be honest with you, because after a few moments into their first song I think I lost a little of my memory due to lack of oxygen. I basically held my breath through their entire set. It was… breathtaking. Darlings, I really mean it this time. The Soil and The Sun are the real deal. This duo, who play a rather odd assortment of drums (together I don’t think the two of them have enough to make up a full set), shakers, tambourine, recorder, melodica, and a lovely acoustic guitar…. all accompanied by a looped background tape which they have also created themselves, before hand and control as they go, … this duo left all of us breathless, especially with IOWEEOW
Most songs start out with a simple percussion, a light tapping or the gentle shake of a rattle and then, in enters Alex’s quavering, beautifully balanced between reedy and hollow voice. He opens his mouth wide when he sings. His face is expressive and he’s completely into the forming of the sounds and words, and at times I turn away and watch Ben drum to hear him better and not be distracted by the level of his concentration. These songs are intentional but without a heavy feeling, quite the contrary, they’re labored over so much so as to be laid on us ever so gently. It’s folk music with very modern rhythms and one might even say world music undertones. I’m reminded of The Bony King of Nowhere at different moments on the CD that The Soil and The Sun gave me, but not all over it, not in a way that colors it exactly. The background tape swirls around above and behind these two men who drum with increasing insistence and Alex hammers the beat out on the coffee can he’s screwed to the side of his bass drum for Spirit of Memory until the end of it is this tribal pounding, and his friends in the front, sitting near him have picked up instruments and joined in. Ben provides perfect backup vocals, and a gorgeous light touch on the melodica and tiny xylophone (?) Alex lays down drumsticks to pluck deftly at his guitar, it’s simply beautiful, achingly beautiful. There’s no separating the two of them in the music even if Ben does claim that Alex is the “genius here.” I’m not really buying that. By the end of their set, all of us were standing and clapping and hooting and I will admit that I might have begun breathing by then. I’ve no idea what I said to them when I attacked them talked to them afterward. I do remember punching Alex in the arm. Sorry! He said it didn’t hurt.
What’s next for these talented musicians? I’ll let you know darlings! I’m in the process of tracking them down. I would love to see their music everywhere, I think it’s that good and so do a few others I’ve spoken with in the past day or so. Right now The Soil and The Sun are giving their CDs away for donations at their shows. If they’re reading this, I hope this prods them to give me a call! I promise, no more punching xoxo
I told you I had an amazing few days with lovely musical people. Well, along with spending some quality time with The Calm Blue Sea (who put on a really wonderful show for what turned out to be a disappointingly small crowd of us) I met two guys who make up The Soil and The Sun. I want to tell you all about them, but first, the four really cool guys from Austin, TX. I don’t want to take away from what The Calm Blue Sea did and traveled so far to do for us lucky few here in Chicago. And let me say, their final number, ”Literal” was phenomenally good and even if it hadn’t been dedicated to me, I’d have been wow’d by it! The venue was small and underpopulated. The floor was shiny and surrounded by mirrors so playing with electricity and amplifiers was particularly tricksy, I was told. Chris took his shoes off mid-song on the first number, which puzzled but amused me and lent a sort of homey, casual air to the whole non-event, event. The Calm Blue Sea didn’t play a long set, as there were four acts on the bill Saturday night and they wanted to give everyone fair time. That’s a typical Chicago practice, unfortunately, booking so many bands into one night, and while the bar thinks they might come out ahead it really does no favors to the musicians. Chicago really sucks for indie bands, I’m afraid to say. So, if you can do anything for a band coming through town, please go ahead and buy them a beer, put them up on your sofa, eh?
Back to the positive! These Austin guys rocked out! Two really creative guitarists, a solid, strong all-over-the-neck kinda bass player and a drummer who knows just when to hit it hard, and right, and sweet. The Calm Blue Sea has an array of songs that capture your imagination. Musically, I find myself working hard to remember that playing like that is NOT as effortless as they make it out to be. In other words, they make it look so easy to produce these complicated, beautiful, yet also clearly delineated cathedrals of songs. There’s a really dense writer that I studied in college, whose work was described as being structured grammatically like cathedrals. Each sentence was complexity built on complexity; from a foundation of an idea it increasingly spiraled out of control in layers of theoretical complications , so that by the end of the paragraph-long sentence you had lost the point, way up in the towers of it and had to go back. But if you did, you could see how it made sense. The more you read him, the more you knew what to look for and after about 1200 pages or so it became quite easy to wade through the architecture of it all. The Calm Blue Sea does this with music but they clear the path from the beginning so that there’s no need to go back. As the song is wrapping up, you hear that refrain you heard at the start, perhaps down a third or up a fifth or something. But it’s there, connecting the whole back together again. In the middle is this tangle of smaller excursions and spirals of flourishes and other places they go and circle round again. And as it builds and falls, Chris rises off his chair, Kyle grooves in and out, inching closer and further away from the center, and Aaron (who is joining them from the great band Cougar, for this tour) often crouched down to his controls, provides amazing cover with a dense and intricate array of guitar stylings. All the while Steve lays in wait for the perfect moments to pounce with his sticks or brush or foot pedal and his drums carry every everyone off and on their way.
I have to say, Miska’s isn’t the first choice of venues in this town. But all four acts that night gave great performances and it was a beautiful night of music. Crooks and Children were engaging and interesting as they were the last time I saw them. I’m always intrigued by their switching of instruments after every song. For a band to be so versatile as that, it’s wonderful to hear so much variety and talent. I’ve got a few of their CDs on my pile and a more thorough review is in order and on its way!
The Calm Blue Sea is halfway through their tour, do go and catch their show. You’ll certainly not regret it and talk to them before or after the show, they’re a great group of guys! xoxo
Buy The Calm Blue Seahere
Buy Seigfriedhere
reviewed here
Tour Details
09/07 Toronto, ON – NEU+RAL
09/08 Morgantown, WV – 123 Pleasant St
09/09 Pittsburgh, PA – Brillobox
09/10 Columbus, Ohio – Bernie’s
09/11 Cincinnati, Ohio – Covenant Church (4139 Kirby Avenue)
Darlings!! It’s been a whirlwind of a few days here at Chez Tart! Adventures in abundance of both the odd (sports bars and cowboy hat wearing Northern UK Twee bands) and mundane (laundry genies) have kept me away from the internet and in the company of lovely, musical people. So apologies for the neglectful state of this blog, I hope you’ve been popping over to some friends on the blogroll, there’s some real fine folk over there.
Now, while I catch my breath, my ever-faithful friendly, miscreant Drunk Country has sent over his podcast for our listening ears. Usually it runs on WOXY.com but as he explains below, they’re moving house this weekend and so it’s a more private affair, just on his own personal site. And that has given him liberty to go a bit wild and wooly … and darlings, I’m afraid that is exactly what he’s done! Here’s his own introduction, buckle yourselves in, listen up to the likes of ”Plants and Rags” and please DO tell me what you think. DC is a good friend, his musical upbringing is quite close to mine which is so very odd considering we were raised 3,000 miles and about 10 years apart (!) and I’m actually very interested in your reactions to this! Don’t let that stop you from being critical, however, he can take it, hahah! xoxo
From the Man himself: Hello again, hello.
This past weekend Team WOXY were busy choosing the cushions & matching pop shields for the new Austin studio-come-fun nest, therefore TWR did not air. Some, we know, will consider that a mighty relief.
For those of you who fell into a Kenneth Hutchinson-style heroin stupour as a result of our missing Saturday alarm call dulcets, fear not. Here’s something we made earlier that you can use to kick your brain awake with.
This one off so-called Nostalgiacast contain a looksee through the ‘grown up listening to’ musical history of your favourite twatmouth’s questionable ‘taste’. ½DC’s, that is.
Over 4½days 20 years of music & personal listening habit (covering late ’70s – mid ’90s) has been filtered, whittled & crunched down by ½DC into a playlIst that could have realistically been at least 6hrs long. & that’s without the inane chatter in the between bits.
We’ll be honest. We missed a LOT of music & bands out that were very important in the musical appreciation by our young, strident protagonist (½DC, again; keep up). It’s just we simply couldn’t fit it all in.
Expect, then, the avant garde, goth, indie jangle, indie folk, blues, rock, psychedelic, punk, musicals, & a whole damn host of things you may have never heard of before, or, hopefully, a tone of stuff you’ve not heard for, like, ages, man. Yeh? Just don’t expect the obvious track choices associated with any of the bands.
So, then, & onwards towards naughty words, bawdy nonsense + expletive intactus lyricalisation. Oh, & a bit of Terence Trent D’arby to get your knickers steamed up.
You have been weaned. x ½DC + TWoTH
this week’s show:
The Waiting Room
Broadcast Saturday
8am ET / 1pm BST Repeated Sunday
4pm ET / 9pm BST Podcast Monday
8am ET / 1pm BST
Well darlings, this fall is turning out to be quite exciting for getting my live music fix! The hype is growing about Cymbals Eat Guitars to the extent that everyone from the New York Times to ABC NOW news (which has an odd/funny interview wherein a band member says that the younger two bandmates somehow sprang forth from Neil Berenholz’s vagina… how does that even get on ABC news?). So, the hype over Why There Are Mountains grows, that was my original point, wasn’t it? There’s a WOXY session of Cymbals Eat Guitars. There’s a Pitchfork video and a new song “Tunguska” streaming over there too:
But honestly, the real news is that you should go see them play. I’m waiting to make up my mind about this band. I’ll be honest and tell you that I’m on the fence about Cymbals Eat Guitars. I’m not totally smitten with the album yet. But I’m completely willing to be won over by the live show. And with them, for all of September and most of October is the Pains of Being Pure at Heart (along with the Depreciation Guild – remember that video I squirmed over? yumm!) Now that’s what I call a lineup! Higher Than The Stars, the new EP by the Pains is out September 22, and you’ll know as soon as I get one. It’s definitely on my to-be-reviewed list after they woo’d me at Pitchfork Fest this summer with ”Come Saturday” and ”Everything With You”. I’d say, all in all, there’s a very good chance you’ll hear a good review from this show, xoxo
preorderWhy There Are Mountains (out September 29) buyPains of Being Pure at Heart
Tour Details for Cymbals Eat Guitars
9/5 – Middle East Downstairs – Boston, MA (W/ Pains Of Being Pure At Heart)
9/6 – La Sala Rossa – Montreal (W/ POBPAH)
9/7 – Horseshoe Tavern – Toronto (W/ POBPAH)
9/8 – Logan Square Auditorium – Chicago, IL (W/ POBPAH)
9/9 – Stage Door at The Orpheum – Madison, WI (W/ POBPAH)
9/10 – Slowdown – Omaha, NE (W/ POBPAH)
9/12 – Monolith Festival – Morrisson, CA (W/ POBPAH)
9/13 – Kilby Court – Salt Lake City, UT (W/ POBPAH)
9/14 – Neurolux – Boise, ID (W/ POBPAH)
9/15 – Neumos – Seattle, Washington (W/ POBPAH)
9/17 – Musicfest NW @ Doug Fir – Portland, OR (W/ POBPAH)
9/18 – Great American Music Hall – San Francisco CA, (W/ POBPAH)
9/19 – Troubadour – Los Angeles, CA (W/ POBPAH)
9/21 – Casbah – San Diego, CA (W/ POBPAH)
9/22 – Club Congress – Tucson, AZ (W/ POBPAH)
9/24 – Lola’s – Fort Worth, TX (W/ POBPAH)
9/25 – The Mohawk – Austin, TX (W/ POBPAH)
9/26 – One Eyed Jacks – New Orleans, LA (W/ POBPAH)
9/27 – Club Downunder – Tallahassee, FL (W/ POBPAH)
9/28 – The Earl – Atlanta, GA (W/ POBPAH)
9/29 – Local 506 – Chapel Hill, NC (W/ POBPAH)
9/30 – Black Cat – Washington DC (W/ POBPAH)
10/1 – Ottobar – Baltimore, MA (W/ POBPAH)
10/3 – Webster Hall – New York, NY (W/ POBPAH)
10/5 – First Unitarian Church – Philadelphia, PA (W/ POBPAH)
10/16 – Alfred University – The Knight Alfred, New York
10/17 – Boston University – Boston, Mass
10/18 – Great American Music Hall – San Francisco, CA (W/ POBPAH)
10/19 – Troubadour – Los Angeles, CA (W/ POBPAH)
11/10 – The Troxy – London , UK (W/ The Flaming Lips)
11/11 – The Troxy – London, UK (W/ The Flaming Lips)
Tour Details for Pains of Being Pure at Heart
11/21 – Poitiers, FR – Confort Moderne
11/22 – Paris, FR – Point Ephemere
11/28 – London, UK – Reverence @ ICA
11/30 – Bristol, UK – Thekla
12/01 – Liverpool, UK – Academy 2
12/02 – Newcastle, UK – Academy 2
12/03 – Glasgow, UK – Stereo
12/04 – Manchester, UK – Academy 2
12/05 – Birmingham, UK – Academy 2
For most of us, Jim Carroll will be remembered as the author of this book. The Basketball Diaries is Carroll’s autobiography, his own diaries, written as a boy from the ages of 12-16. And unlike most of us who passed through those ages, Carroll actually had something to write about other than the tortured inner dialogue of adolescence. He led this tri-furcated life, you see. Basketball star/heroin junkie-hustler/poet-literary prodigy tri-furcation is one mighty feat to pull off, no matter what age you are. His first book of poetry was published at age 17, Organic Trains. The crowd he traveled with in the years to come included Ginsberg, Warhol, Patti Smith, Dylan, Mapplethorpe; all of them, all of the anti-heroes of my own adolescence. For such a busy kid, Jim Carroll still had a whole lot to do in his 20s and 30s.
for days and days, I knew I was going to catch this band when they came through town. What I didn’t know was that the songs off their newly released album, 
But she was concerned that there were screams in it, right before the keyboards hit. I talked her down, but yeah I wasn’t sure either. It’s only Josh Romaniuk doing his techno magic, darlings. 
Subcontrario (In Stereo)
Start A New Day
Hospice
Hard Drugs
Why There Are Mountains (out September 29) 
Pains of Being Pure at Heart 
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